R K Shriram Kumar, Fiddle Solo, Nada Inbam

[rbharath]

R K Shriram Kumar - Fiddle
K Arun Prakash - Mrudangam
B S Purushottaman - Kanjira

Nada Inbam. Dilip Remembrance
7 Oct 2010. 6 pm

jaya jaya jaya jAnaki kAnta - nATTai - kANDa cApu - PD (short sketch S)
nijamarmamulanu - umAbaraNam - Adi - T (short sketch)
ninnE nEra nammi - pantuvarALi - rUpakam - T (RNS)
vazhi maraittirukudE - nATTaikuranji - misra cApu - GKB
parAkEla nannu - kEdAragauLa - Adi - SS
kamalAmbikE - tODi - tisra Ekam - MD (RNS)
tani
hastivadanAya - navarOj - misra cApu - MD
veTTAveLi tannil - kuDumbai siddar
jAnarO - khamAs - rUpakam - DS (R)
anRivvulagam - sindhubhairavi - Adi - ANDAL (R)
mangaLam vara rshiyasringa nagara vAsini - suruTTi - Sringeri Chandrasekhara Bharathi
nI nAma rUpamulaku - saurAshTram - Adi - T

A great evening with soul filling music and fond memories flooded me at this concert. The concert began with a traditional nATTai kriti and the umAbaraNam that followed was nice. The ubiquitous Dravid of carnatic music, pantuvarALi was there too with all its grandeur. (or should I call Dravid as cricket's pantuvarALi? )

A meditative nATTaikuranji and a quick racy kEdAragauLa led to the tODi within just about 45 minutes of the concert's beginning. The AlApanai was very elaborate and being the amAvasya preceding navarAthri, one was pretty sure it was kamalAmbhikE, the dhyAna kriti of the navAvarNam that was coming. The AlApanai had all the essential phrases present in the right time and place and made it totally moving. The kriti was rendered very beautifully with elaborate neraval and svarams.

The navarOj kriti, hastivadanAya made a great start for the post-tani section. It was filled with most classical and elegant tukkaDas with the khamAs jAvaLi leading from the front.

The accompanists were perfectly matching to the main artist and played with utmost sensitivity.

It was a concert to remember for a very long time.

bharath

[Nick H]

I arrived late. We can always blame the traffic, but the truth is usually simply not leaving early enough!

If I had been there right from the beginning, there is a good chance that I might have felt comfortable with the first few pieces. Picking up the "frequency" of the performance might have saved me from feeling that there was just too much sense of attack in them.

The fourth item went to the opposite extreme: a soft, gentle, slow piece, played slowly and gently with great softness. From here on, a balance seemed to have been made, and I was able to simply enjoy the rest of the program.